Described as “vividly colored” (The New York Times) and “exhilarating” (The Philadelphia Inquirer), Jeremy Gillʼs music has earned him residencies and fellowships with the Bogliasco Foundation (2017), Chautauqua Opera (2016), Copland House (2015), American Opera Projects (2013–14), and the MacDowell Colony (2013), as well as major grants from New Music USA (2015) and Chamber Music America (2011). In November 2015, Jeremy traveled to Havana, Cuba as part of a select group of composers assembled by the American Composers Forum as the first US Artist Delegation to the Havana Contemporary Music Festival, a historic trip documented by ACF and National Public Radio.
Recent major premieres include Ainulindalë, a tone poem for large orchestra based on J. R. R. Tolkienʼs posthumous The Silmarillion by the Harrisburg Symphony Orchestra (2018), Six Pensées de Pascal by the Philadelphia-based vocal virtuoso sextet Variant 6 (2018), Ladiesʼ Voices, a setting of Gertrude Steinʼs play of the same name, by coloratura Chelsea Miller, the 2016 Chautauqua Opera Studio Artists, and the Chautauqua Symphony Orchestra (2016), and an oboe concerto, Serenada Concertante, by the Dallas Symphony Orchestra featuring principal oboist Erin Hannigan (2016). His chamber opera Letters from Quebec to Providence in the Rain, based on a play by Don Nigro, was premiered by Lyric Theatre @ Illinois and the Illinois Modern Ensemble in 2016; it was a finalist for the 2017 Dominick Argento Chamber Opera Prize and was later produced by UC Santa Barbara and the University of Alabama in Tuscaloosa (2017).
Jeremy has enjoyed collaborations with conductors Jaap van Zweden, Steven Osgood, and Stuart Malina, the Parker and Dalí Quartets, pianists Peter Orth and Ching-Yun Hu, singers Lucy Shelton and Jonathan Hays, and major chamber music presenters including the Chameleon Arts Ensemble of Boston, Dolce Suono Ensemble, Network for New Music, and Market Square Concerts. He is currently composing a four-hand piano concerto to premiere in the summer of 2019 by pianists Orion Weiss and Shai Wosner and the Chautauqua Symphony Orchestra under JoAnn Falletta, with subsequent performances by Anna Polonsky, Orion Weiss, and the Buffalo Philharmonic Orchestra.
In 2017, Gil Rose and Boston Modern Orchestra Project released the first recording of Jeremyʼs orchestral music, including Before the Wresting Tides (2012), Serenada Concertante (2013), and Notturno Concertante (2014), featuring Rubinstein-prize winning pianist Ching-Yun Hu with the Marsh Chapel Choir, oboist Erin Hannigan, and clarinetist Chris Grymes. Gramophone Magazine called this “a very warmly recommendable disc,” to which HRAudio added, “Jeremy Gill shines with three unique concertos in this latest release…and dissolves limitations of time, space, and consciousness in seductive, dreamlike flights of fancy,” while New Music Buff raved, “The composer’s ability to utilize such a large orchestra yet still produce lucid textures is a mark of genius.”
In 2015, the Grammy-winning Parker Quartet released Jeremyʼs hour-long Capriccio on the Innova Recordings label. This recording garnered extensive critical acclaim: Classical Minnesota Public Radio called it “a work to return to often, for fresh insight and stimulation,” while the San Francisco Chronicle called it “a varied and kaleidoscopic collection of vivid miniatures…an ebullient cataloging of the various textural and rhetorical forms that writing for string quartet can take.” In Capriccio, “Jeremy Gill conveys to us his own special sensibilities as a composer of almost unlimited breadth, a master stylist who knows virtually no boundaries in his poetic collocation of past, present and future,” remarked Gapplegate Classical-Modern Music Review. The Big City Blog included Capriccio on its list of top ten “Best Classical Recordings of 2015,” and Jazz da Gama called it simply “one of the most remarkable opuses in chamber music this year.”
Deemed “a fine pianist” by the New York Times, Jeremy regularly appears as a pianist and conductor in music of his own and by his contemporaries. He has been a featured performer at major venues including Merkin Hall, National Sawdust, the Mansion at Strathmore, Calderwood Hall at the Gardner Museum, and internationally at the Museo dʼArte Orientale in Genova, Italy. Jeremy has conducted over 35 world premieres featuring artists such as Eric Owens, Ching-Yun Hu, Evan Hughes, Lucy Shelton, and Randall Scarlata with ensembles including the Dolce Suono Ensemble, the Mendelssohn Club of Philadelphia, and Network for New Music. During the 2016–17 season he conducted the Boston-area premiere of Missy Mazzoliʼs Song from the Uproar, featuring the Firebird Ensemble and mezzo-soprano Abigail Fischer, and a concert of Nico Muhlyʼs recent works featuring countertenor Anthony Roth Costanzo, both at the Isabella Stewart Gardner Museum under the auspices of Beth Morrison Projects.
Born in Harrisburg, PA in 1975, Jeremy studied oboe, piano, and composition before entering the Eastman School of Music. He received his PhD from the University of Pennsylvania in 2000, and studied internationally at the American Conservatory in Fontainebleau (1993) and the Czech-American Summer Music Institute (1999). His principal teachers include Samuel Adler, George Crumb, Yinam Leef, David Liptak, James Primosch, Jay Reise, George Rochberg, Christopher Rouse, and Joseph Schwantner. He has received major composition awards from BMI, ASCAP, and the League of American Orchestras, and has served as the Composer in Residence with Chautauqua Opera, the Harrisburg Symphony Orchestra, and the Newburyport Chamber Music Festival. He edited A Dance of Polar Opposites, a theoretical-philosophical work written between 1955–2005 by George Rochberg, published by the University of Rochester Press in 2012.